Get in the zone Get in the zone

Tamara Wilson and Stanislas de Barbeyrac are the standouts in Calixto Bieito’s underwhelming Die Walküre in Paris

Frieze frame Frieze frame

Shirin Neshat‘s Aïda in Paris is a typical instance of what happens when an artist is brought in to direct an opera.

There’s a parade in town There’s a parade in town

Les Brigands at the Paris Opera is an expensive joke that never lands

Il trittico Il trittico

Asmik Grigorian pulls a hat trick in Puccini‘s triple bill recorded (and reviewed) last month in Paris

Three ages of woman Three ages of woman

Asmik Grigorian’s scorching turn in Il trittico in Paris has Nigel Wilkinson wondering, ‘what is it that makes Americans so weepy?’

C’est une vraie voix C’est une vraie voix

Don Carlos returns to the Opéra National de Paris and it’s an unusually happy occasion

Lucia di Lammermoor Lucia di Lammermoor

Jessica Pratt sings the title role in a live broadcast from Trieste

Selvaggia e aspra e forte Selvaggia e aspra e forte

Pascal Dusapin‘s dynamic and demanding traversal of Dante‘s Commedia arrives at the Paris Opera

Roundheads heard ’round the world Roundheads heard ’round the world

parterre box is titillated (in the most prudishly puritanical way possible) to share a clip from the Paris Opera’s recent production of I Puritani starring Lisette Oropesa and Lawrence Brownlee

Americans in Paris Americans in Paris

Even if our monolingual American tourists can be the source of vexation for many a Parisian, our singers gave much for the city’s operagoers to admire this month in stylish productions of Semele at the Théâtre des Champs-Élysées and I Puritani at the Opéra Bastille.

God grief God grief

Nigel Wilkinson takes on the first installment of the Paris Opera’s new Calixto Bieito-directed Ring Cycle

Playing midwives to an egg Playing midwives to an egg

Nigel Wilkinson reports on Teodor Curentzis and Peter Sellars‘s new production of Rameau‘s Castor et Pollux in Paris.

Roadkill, twice over Roadkill, twice over

Though I’ve sometimes complained that the Paris Opera, while supposedly short of cash, changes its productions nearly as often as the rest of us change our socks, André Engel’s Cunning Little Vixen first appeared there 17 years ago. At the time it was billed as ‘new’, though it actually dates back further still, to 2000 at the Lyon Opera. I saw it when it arrived at the Bastille and wrote it up at the time.